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Odysseus and the Phaeacians Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 1999 Odysseus and the Phaeacians Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. O. (1999). Odysseus and the Phaeacians. In M. Carlisle & O. Levaniouk (Eds.), Nine essays on Homer (pp. 21-33). Rowman & Littlefield. This Contribution to Book is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 2 Odysseus and the Phaeadans Corinne Ondine Pache Two unique events occur in Book 11 of the Odyssey as Odysseus tells the Phaeacians about his visit to Hades: first, Odysseus includes a story known as the "catalogue of women" that seems to have nothing to do with himself and his own adventures or with anybody else in the Odyssey; second, there is an interruption, known as the "intermezzo," in Odysseus' story, and a conversation takes place among Odysseus, Arete, and Alkinoos before the narrative is resumed. These two occurrences have much to say about the interaction between Odysseus and the Phaeacians, and also about the interaction between the epic poet and his audience. Some experts think that the whole or parts of Book 11 are later insertions, and the catalogue of heroines especially is often regarded as a later "interpolation."1 The very concept of interpolation is not one that is particularly helpful in dealing with a text that is the result of a long oral tradition rather than the original output of a single individual. It seems to me ultimately irrelevant whether the visit to Hades became part of the story later or when the catalogue of heroines was included in Book 11. My concern is with what is there, and how to interpret it. The Nekyia not only makes sense in the received text of the Odyssey, but it plays a very central and meaningful role in the story and has many ramifications throughout the narrative. At Alkinoos' court in Scheria, Odysseus recounts his adventures. Before he does so, he spends a day with the Phaeacians, feasting and competing in 1. Kirk 1962:239 and Page 1955:21-51 think the entire book is a later "interpolation." Germain 1954:330-332 considers that parts of Book 11, including the catalogue of women, are later "insertions," although he gives to the Nekyia itself a central place in the Odyssey. Cf. Heubeck and Hoekstra 1989:75-76, 90-91 for a surveyof secondaryliterature on the subject. 21 22 Part I: MultigenericHomer Corinne Ondine Pache: Odysseus and thePhaeacians 23 athletic games. During the course of this day, Odysseus learns much about thereby hinting at what his subsequent narrative should focus on. Similarly, the Phaeacians. Before he even arrives at their court, Nausikaa makes it clear Odysseus seems to react to Alkinoos' speech by offering the Phaeacians an to him that her mother plays a central role in Scheria and that it is from her, account of his adventures that they will enjoy. Not that he needs to change rather than from Alkinoos, that he should ask for help (Od. 6.303-315). the facts to please them but by emphasizing some details here and there he Odysseus hears the Phaeacians' singer, Demodokos, three times and is told can adapt his story to suit this particular audience. In one case in particular, by Alkinoos exactly what it is that makes the Phaeacians happy ( Od. 8.246- when he tells the Phaeacians about his encounter with the heroinesof the past 249): in Book 11, Odysseus steps out of his role as autobiographer and switches genre to become a genealogical poet to delight his host and, more OU yap nvyµOxo1 £iµtv 0cµuµoV£<; ouot na>.a10Tai, particularly, his hostess. a>.Ao nooi KpamvW<; 0foµ£v Kai v11voiv &p10To1, Alkinoos tells Odysseus that the Phaeacians like stories, but he is also very aiEi f>' �µiv f>ai<; T£ <piAI) ici0apic; T€ XOpOi TE clear that they do not care for deceivers and cheats (Od. 11.362-369): E'i'µcna T' (f.oµo180 >.onpa TE� icai Euvoi. TOV 5' avT' 'A>.icivooc; 0cnaµEi(3noq>WVl)Oiv TE' are for we not faultless in our boxingnor as wrestlers, "w 'OovoEv, To µ(v ou Tio' HoicoµEv Eioop6wvnc; but we do runlightly on our feet, and arethe best seamen, t)mponi)o T' (µEv ical foiic>.onov, oTo n no>.>.ovc; and always the feast is dear tous, and the lyre and dances (36oicu yaia µi>.a1vo no>.vompfo<;0cv0pWnov<; and changes ofclothing and hot baths and�. lt!EVOEa T'OcQTVVOVTOC. 00 Ev ic( Tl<; ouf>( i'f>o1TO' ool &' (m µ[v µoo<eOfoiwy, (v1 5[ <epiV£cfo0>.ai. The Phaeacians are a gentle people who delight in peaceful distractions µv0ov &' We; ()T' 0ro1&bc; (moTaµivwc; icaTiXEf.ac;, and simple pleasures. Alkinoos' list of the Phaeacians' favorite things naVTWV 'Apyt:iwvofo T' OUTOV icf)f>Ea >.vypa." culminates with the three words t:'i'µcna, >.onp&, t:uvai 'clothing, baths, beds', which all denote romantic love: t:'i'µaTa and >.onp& in the Odyssey Then Alkinoos answered him in turn and said to him: are often the prelude to love, as is shown by Nausikaa's remark to her father "Odysseus, as we look upon you we do not imagine that her three bachelor brothers are 'forever wishing to go to the dances in that you area deceptive or thievish man,the kind freshly washed clothing' (ol o' ait:l EeEAOVOI VEOnAUTO E°i'µaT' EXOVTE<;, that the dark earth breeds in great numbers,people Od. 6.64),2 while for Nausikaa herself, washing-of both clothing and who wander widely, herself-is clearly part of wedding preparations (Od. 6.92-97).3 Whereas the maldn&up stories. in which one could not secanything. Phaeacians enjoy all of the things mentioned by Alkinoos, I will argue that There is a graceyoon your words, and thereis love occupies a special place in the list, not only as something that the noble sense within you, Phaeacians like in and of itself but also as a favorite subject of storytelling. and expertly, as a singer would do, you have toldthe Alkinoos plainly discloses the Phaeacians' tastes to Odysseus, perhaps storyof your own dismalsorrows and of all the Argives." This is a fascinating passage that reveals much about Alkinoos' 2. It is interesting to noteth at Penelopehas troublerecognizing Odysseus because expectations, and maybe also about those of the audience, both internal and of his icaico. E'iµaTa Od. 23.94. 3. See Seaford1994:35-36 for bathing andputting on fine clothes as preparations for a wedding in theOdyssey. 24 Part/: Multigeneric Homer CorinneOndine Pac he: Odysseus and thePhaeacians 25 external. Alkinoos starts by establishing that he does not consider Odysseus of subjects. As Odysseus is talking with his dead mother, crowds of heroines to be among the liars and tricksters who make up stories4 from which one suddenly approach him (Od. 11.225-234): could not learn anything. The criteria by which he judges Odysseus' tales, however, have nothing to do with their truth-value. He praises Odysseus for vwr µ[v W<; tniEOOIV OcµE1J36µE0', ai 5£ yvvaiKE<; the grace of his words, µopq>� foiwv, and for his noble mind, q>pEvEc; �Xv0ov, chpvvEVyap exyavQnEpOE!pOVEIO, £o0>.ai. Alkinoos is unquestionably more concerned with aesthetics than 00001 0cp1on;wv &Xoxo1 foov �5£ 0vyoTpEC;. truth. Similarly, the catalogue of heroines as it is presented by Odysseus ai f>' exµq>' oTµo K(AOIVOV OcOAAEE<; �yEpi0ovTO, seems to be more concerned with satisfying the Phaeacians' desire for beauty OVTOP tyw J3ovAEVOV. one.><; t io1µ1 EICOOT')V. rather than with quenching any thirst for perfect accuracy. �5E 5€ µ011e0Ta 0vµov expicrn:l q>oivno J3ovXrr At the beginning of Odysseus' story in Book 11, Odysseus kills the onaoaµEVO<; TOVV')KE<; &op noxicx; napa µ()pOu sacrificial sheep and all the psukhai gather by the pit of freshly drawn blood OUK E'iwv nivEIV aµo naoo<; aTµo IC(AOIVOV. (Od. 11.36-43): oi 5£ npoµvo0Tivo1 tn�roov, �5£ £icaoTo OV yoVOV if,ayopEVEV' lyw 5' (pfoVOV cmaoac. ai 5' exyipovro lf'VXOi vn[� 'Ep{J3Ev<; VEKVWV KOTaTE0V')WTWV' Sowe two were conversing back and forth, and thewomen came to me, vvµq>OI T' �1°0EOi TE nOAVTA()TOi TE y(pOVTE<; forsplendid Persephone urged them on. nop0cv11eoi T0 exToXoi vEOmv0fo 0vµov £xouoo1, These were all who had been the wives and daughters of the best noAXoi 5' OVTOµEVOI xoXic�pEOIV EYXEl(lOIV, men, &v5pc<; 0cpf1tq>0To1, J3cJ3poTwµ(vo nvxc' £xovn<;· and now they gathered in swarms around the dark blood. o'i noAXoi mpi J360pov tq>oiTwv &XXo6Ev &XXcx; I the n thought about a way toquestion them, each by herself, 0rnmoi(l iaxfr €µ£ 5£ xXwpov 5io<; l:\pE1. and as I thought, this was the plan that seemed best to me; drawing out the long-edgedsword from beside my strong thigh, andthe souls of the perished dead gathered, up out of Erebus, I would not let them all drinkthe dark blood at the same time. brides, and young unmarried men, and long-suffering old men, So they waited andcame to me jn order. and each one virgins, tender and with the sorrows of young heartsupon them, told me about her origin, and I questioned all of them. and many fighting men killed in battle, stabbed with brazen spears still carrying their bloody armor upon them.
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